These figures depict the chord progressions from three tracks within the corpus. All three tracks exhibit minimal variation in chord structure throughout. In the electro track, no singular chord prominently stands out in contrast to other genres. However, in the house track, it is evident which chords are emphasized. When listening to the track, the distinct chords are clearly audible. These findings reinforce the notion that the electronic music genre tends to feature simpler chord progressions. In my opinion, this figure isn’t particularly suitable for electronic music, as tracks within this genre often remain within a single chord region and prioritize percussion and repetitive basslines.

These figures illustrate the key progressions of three tracks within the corpus. Each track displays minimal variation in chord structure, with the minimal track exhibiting slightly more variation compared to the others, yet still maintaining stability. This further emphasizes the tendency of electronic music to feature simpler key progressions. In my view, this figure may not be well-suited for electronic music analysis, given that tracks in this genre often remain within a single chord region and emphasize percussion and repetitive basslines.

These figures depict the cepstrograms of three tracks within the corpus. In the house track, a stable pattern is evident, with a noticeable build-up around 165 seconds. Towards the outro, there’s a shift towards more percussion and less harmony. The minimal track exhibits constant fluctuations, attributed to its repetitive melody. Around 210 seconds, there’s a discernible build-up primarily driven by percussion. In the electro track, clear repetitions are noticable, with the beginning of the track almost duplicated after 120 seconds, a common characteristic in electronic music.

These figures display the Self-Similarity Matrices of three tracks within the corpus. In the house track, the build-up around 165 seconds is clearly visible. Additionally, numerous subtle changes are apparent, possibly indicating shifts in percussion, a characteristic of Julien Alexander’s production style. In the minimal track, constant fluctuations are observed, stemming from its repetitive melody. The previously noted build-up around 210 seconds is less pronounced, but both the intro and outro are clearly depicted in this figure. In the electro track, the repetition in organization is evident.

These figures present the chromagrams of three tracks from the corpus. In the house track, a less consistent pattern is noticeable, with clear changes in structure throughout the track. Two bridges and build-ups are evident, along with a longer outro compared to the intro. In the minimal track, a distinct static repetitive structure is visible, reaffirming the characteristic of minimal house music. Similarly, in the electro track, repetition is evident, with two bridges around 40 and 140 seconds, and an outro around 215 seconds that alters the energy of the track.